1986 was a year marked by social and political turmoil in South Africa. Amidst the collapse of the Rand, protest action against racial segregation laws, and increasing levels of violence between the state and civilians, the Festival programme was arranged around the theme ‘Encounters’. Although the Festival has always striven to remain apolitical itself, we have always stood for justice, equality, human rights, and open access, and the ‘Encounters’ programme attempted to create a space that welcomed and celebrated all voices.

The introductory notes from several key players in the organisation demonstrate the challenges faced, and opportunities seized, by the artistic community at this time:  

“We have structured the festival package around the theme ‘Encounters’, and we hope that you will derive great joy as you share the rich cross-cultural offerings. It is indeed our wish that in these days of confrontation and uncertainty we can point a way towards greater tolerance and understanding… The Foundation is indeed happy to have this opportunity of presenting a happening where the barriers if race, colour and creed fall away, and art can be appreciated for art’s sake.” – Jan Breitenbach, Executive Director 1820 Foundation

“The path to this year’s Festival has not been clear cut… the emphasis changed rapidly as cultural boycotts and the decline of the Rand took their toll… To see through the other man’s eyes and understand his point of view is vital if our heterogeneous community is to learn to co-exist and even to enjoy our differences…

The path to Grahamstown is now followed by the professional, the amateur and the student. All come here to demonstrate their talents and have their say. The audience come to observe, listen and react and the inter-reaction leads to a greater awareness and opens a way to a more meaningful appreciation of one another. Its neutral platform is the glory of Grahamstown, as it allows all to express a point of view.” – Dudley M Hopkins, Chairman of the Festivals Committee

“There is a significant increase in fringe entries from Black performing arts groups and institutions – and we sincerely hope that is only the beginning of an unparalleled participation from all members of our South African society.” – Neville Style, Festival Officer

Amongst the work on offer this year was an exhibition of Bronzes by Gavin Younge, which highlighted the inequitable distribution of mineral resources within South Africa, and a Film Series called Behind the Scenes, which tackled multiple aspects of the country’s political crisis. The Fringe drama programme included productions of The Blood Knot, The Island, Hamba Kahle and Wathinta! Bafazi Wathinta! Imbokotha (You strike the woman, you strike the rock). Deon Opperman presented Somewhere on the Border, which was accompanied by a warning that read: Not suitable for the fainthearted, while Pieter-Dirk Uys’s new one-hander was also accompanied by a disclaimer summing up the tumultuous nature of the times: Material Subject to Daily Change.